Zloslut is a Serbian Black metal that initially consisted of sole founding member Agnarion who had produced all the records by himself but here on Sahar, Agnarion is joined by a full band that changes the dynamic of this album compared to previous works. All the previous rough edges have been rounded out from the production all the way to the riffs themselves. While this does create a certain amount of sterility, it also allows the band the freedom to explore and to develop their own style.

U Transu Sa Nepoznatim Siluetama presents a longing, melancholic, and nostalgic view on black metal ripped straight out of the playbook that enabled artists such as Alcest to score big with the empathetic loner crowd. On the surface, this music is presented as your standard affair of devil music yet it is bereft of even one note of existential weight or tantalizing, decadent forbiddance which typically characterizes Faustian gambits with the dark. The music swings, bounces, pops, and dances in the light. It is so light in fact, that gravity actually helps uplift these sounds.

Then there is the overwhelming familiarity which strikes the listener immediately. These are well-considered compositions that look backward for source material but otherwise fail to provide new meaning. The past is alive but it is practicable and pedantic. Zloslut shamelessly flaunts catchy and immediately gratifying candy culled from across the metal spectrum. A delicate and emotive arpeggiated tremolo-picked melody ripped right out of Norsecore will be seated right next to a Rotting Christ-style heavy metal motif. Burzum and Gorgoroth have their post cards along route 666 through the use of ringing bar chord breaks.

This is one of the rare albums where sloppiness, uncertainty, and disorganization could have been a boon as it would have colored the music with a wild charm and sense of adventure. The riffs are supposed to add up to a meaningful experience but the stark reality is that this is a Now That’s What I Call Black Metal! recollection of genre hits. Quite possibly the most radical statement this album could have made would have been allowing the genre-verboten blues to blossom into a David Gilmour solo on the first proper track.

Serbian black metal group Zloslut received some well-deserved coverage on DMU in 2013 when they released their first album, Zloslutni Horizont – Donosilac Prokletstva, Očaja I Smrti, in which the musicians demonstrated a humble and patient method of constructing epic songs based around the simplicity of a few chord changes. This method contrasts (pleasantly) with the typical songwriting method of modern black metal bands, which is to hurl rapid-fire oppositional riff pairs at the listener with the intention of disorienting and distracting from the lack of any coherent musical thread. Zloslut’s music promises a refreshing return to the minimalist style that the best black metal bands of the early 1990s used to produce memorable and effective songs.

U Transu Sa Nepoznatim Siluetama moves at a familiar pace for the experienced listener, but the albums dynamics are generally so well-balanced that even someone not engaged in black metal would not be offended or confused by the aural layout. The average intensity of the music is nearer to that of In the Glare of Burning Churches than Pure Holocaust, which means that each song has plenty of room to breathe and the listener never feels battered or overwhelmed by density or speed. Songs themselves are built out of a handful of chord cycles that are aesthetically consistent and highly motivational; never does a chord cycle become so stale that you will actually desire its end to relieve boredom, but never is a riff so complex that it blows by and is forgotten for not having been catchy or repeated enough. Each segment of music is paced accordingly and results in each song becoming a miniature journey of sorts, leading the listener along a path through moments of surprise, anger, despair, hatred, and finally toward some appropriate resolution that can’t be described in text, only experienced sonically.

Zloslut’s success stems from the songwriter’s intuitive sense of balance and momentum. When a song picks up speed, the tension increases but is balanced out with slower-moving riffs played with more major intervals. After a song has expended its motivational energy, the guitars drop down and drag the melody through murky valleys of foreboding and loss. I want to be clear that the dynamic balance maintained throughout this album does not mean that the experience is emotionally flat; rather, that every peak is paired with a valley, and every action has an equal and opposite (or, is it complimentary?) reaction. The spacious feel of the album allows for stretches of melancholic introspection like one might find themselves amidst while listening to Vampires of Black Imperial Blood or the more recent When the Light Dies. But don’t make the mistake of associating Zloslut with the emo-leaning depressive style that has crept into the black metal canon over the last decade. U Transu Sa Nepoznatim Siluetama is ferocious and concedes nothing, sparks the listener’s imagination, and encourages one to seek out and confront the obscure biases and phobias that lurk in the far-flung corners of the psyche.

Serbian black metal band Zloslut has created some of the more interesting music to emerge from the underground of late and stand on the verge of releasin their second album, U Transu Sa Nepoznatim Siluetama in spring 2015. Main composer Utvara took some time to talk with us about the upcoming album and future of this innovative act…

What first attracted you to black metal music?

I would say it’s atmosphere, and its attitude toward all opposition.

What does black metal music communicate, represent or have as a value?

This depend from person to person, band to band and from era to era of the genre itself.

For me black metal represents all negation that “normal” people can’t stand. Primitivism with a way and a goal.

Its value was lost long ago. There are some good bands today of course! Even if I didn’t have the chance to experience black metal in the 90s, I can feel that it is not now what it was intended to be, judging by people who been through it, interviews and some well-documented movies.

Are you the sole creator of Zloslut? How did you decide to go ahead with this “lineup”?

Yes, Zloslut is me, Utvara.

The faithful individuals that follow me on shows are live session members.

You write and sing in your native language. Why did you make the choice to do this and not just use English, German and Norwegian like most black metal now?

I do this because I live in Serbia currently and I think it is an opportunity to know another language than English.

Many bands sing in English; I think it’s more original to sing in your native language, other then English if you have that privilege.

For those who don’t know that language, it will give them an esoteric feeling. As it gives me too when I listen to some Norwegian, Polish, German bands…

Zloslut have songs in English (three on the demo, one of them was re-recorded, it’s “Abyss of Eternal Deception” the track that closed the EP “Pustoš i prevare izgubljenih duša”) and two in French (one on the demo, and one other that was on the split “Anti-Human Manifest” with the song “Le Tonneau De La Haine,” with the text of Charles Baudelaire from Les Fleurs du Mals).

But I’m pretty sure that a musician who speaks several languages will agree with me that it depends from song to song.

Some sound better in English, but some must be in their native language because of its uniqueness.

Are you self-releasing your work as Dark Chants productions? Why this route and not another label?

Yes. Why? Because today anyone can be a label and many of them don’t take this work seriously. I have a problem with trusting a guy who runs a label on the other side of the planet. I don’t want someone to release my work and make a mistake. So I prefer to carry that burden myself.

I feel more safer when I do the work. I would rather support a mistake made by myself than by somebody else. The day I would let someone do that work is the day I will sign to a serious label who knows how things must be, but I have not had that chance yet.

What would you say inspires your songwriting, as in topics or emotions?

It depends; I guess that the lifestyle has a big impact in the work of a one man band.

The majority of my days are passed in reading, listening to music, and playing instruments. I’m not an “evil misanthropic” guy… It’s just that I enjoy times of loneliness. The feeling of melancholy gives me a lot of inspiration to write lyrics, music…

Or I let the intuition guide me. More people should try that, it’s amazing!

Too many bands today want to be like their idol, or for example the Disney band Watain. This brings us back to the second question, haha.

You’re about to release a new album, U Transu Sa Nepoznatim Siluetama available in 2015. How will this differ from your past work?

A lot. I think that this album is what I wanted to make since the creation of Zloslut, but couldn’t because of many obstacles, such as maturity, money, time and countless other factors.

Basically, everything is how I imagined it, so I think this album is the stamp of Zloslut, until further work.

This is definitely the most mature album and songs I’ve ever made.
I’m generally very negative when I make something. I always think that it should be otherwise, but I didn’t let that feeling overtake me.

What other styles or ideas influence you outside of black metal? How much does the history and current social/political/economic situation in your nation influence your thinking?

Literature (especially poetry), classical music…

I don’t let politics affect me in my musical world. I have some political opinions about Europe which are extreme for some people I believe. But I prefer to keep that for myself.

I don’t want to mix politics with my music, because they don’t have a connecting point. It’s pointless. Even if I love some bands that have some connections with politics.

The bands that influenced me for Zloslut have not really changed since I created it.

When it comes to black metal, bands that influenced me the most were Burzum, Judas Iscariot, Taake, Peste Noire, Inquisition, Drudkh, Urfaust…

And I can’t hide my appreciation for the Finnish black metal scene. Almost all of them have something melancholic in their sounds… So Baptism, Sargeist, Noenum, Satanic Warmaster, Nattfog, Horna… I think that today they are the bearers of the “black metal flag.”

But the band that made my path into metal was Iron Maiden, and still today after more than fifteen years, I listen to them everyday at least once.

Classical music is also tied to me since I was a child. I was in music school for seven or eight years as a kid.

I love minimalistic pianist such as Philip Glass, Eric Satie (but just a few composition from him), but also the famous Tchaikovsky, Strauss…

And from time to time I like to put some OI Punk bands in the player, simple riffs, nervous voice with good messages.

Where did you record this latest album, and what techniques did you use? What were your goals for the sound/production of the music?

It was recorded in Belgrade, Serbia. I wanted something between crystal clear and raw sound, how to say, to keep the atmospheric spirit of Black Metal.

I’m not a gearhead, to be honest, I’m more into music creation. Knowledge of technical sound production was never my interest (until recently). I leave that to the producers in general, in this case for this album was Nemanja Krneta (a.k.a. Zlorog). I tell him what I want, and then we together explore all the possibilities.

And I’m very happy with how everything turned out.

How do you compose? Do you start with a riff, an idea, an emotion or something else? How do you link together your riffs?

Oh, this depends from track to track, generally with a riff, then I slowly start to create a text, and then assemble everything until it sounds well-arranged for my taste.

What comes next for Zloslut? Will you tour, or record again?

Well after U Transu Sa Nepoznatim Siluetama will be released around spring 2015 we plan to tour in Europe to promote the new album. We have some offers, but much more details will come after the release see the light… And maybe some summer festivals.

For more recording, definitely I have some ideas, but nothing for 2015, since I really want to promote the album as it should be.
I don’t want to drown the fans with many albums, EPs, splits, singles etc…

Serbian black metal band Zloslut will unleash its second album U Transu Sa Nepoznatim Siluetama in spring 2015 on Dark Chants Productions. To prepare audiences for the new work, Zloslut have released a sample track “Ukleta” (below).

We first reviewed ZloslutZloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti, which combines black and death metal styles into a unique voice expressing an idea and atmosphere specific to this band, back in February. Since that time, the band has composed and recorded the new full album which will be released on CD and LP early next year.

Zloslut composer Utvara answered our questions for a brief profile as follows describing the new direction this band is taking and how it affects their distinctive sound.

How is the second album different from the first?

It is a completely new album, unlike the first album which was still quite linked to the older material.

First of all, we have made a step forward when it comes to production. It is not crystal clear, but it is not raw either, so expect something in between. The album is around 40 minutes in duration and comprised of 8 all-new tracks, with less instrumental composition than we had on Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti. This time you can expect something new in our music in the form of sampled chants and clean vocals here and there. But it is still Zloslut, primitive, ominous, dark in my own way.

Where did you record it, with whom as engineer and who on mixing deck, and how long did it take?

The album writing started a little bit before the recording of the first (well, this precisely concerns only one track), but the recording phase was a question of only a few days. But all in all, it took me two months for getting everything ready from music to design.

It was produced, engineered, mastered and mixed by Nemanja Krneta (a.k.a. Zlorog), I worked with him already back in 2012 for the EP Pustoš i prevare izgubljenih duša. This guy knows what I want, so that’s why I contacted him. And I’m very happy about how everything turned out, from the recording to the final phases of the whole album.

The recording itself occured in Belgrade, Serbia, at various studios.

What are the topics of these song-titles? I don’t think “Google translate” will work on these.

We reviewed Zloslut in our latest Oration of Disorder reviews. Response was good, and so we wrote to the band and asked if they’d do an interview. Hunter of Zloslut was good enough to respond and create this interview.

What does “Zloslut” mean? Why did you choose this name?

Zloslut is a Serbian word that means “The one who feels evil coming”; the translation in English is “Ominous.” This word simply best describes our music, lyrics and state of mind.

When did Zloslut form? Did you face any opposition from the society
around you?

Zloslut made its debut during 2010 in Serbia as a one man band; last year we turned into a real band. No, we did not face any opposition with society, except humanity in general.

What makes the members of Zloslut choose to play black metal music? Wouldn’t you rather make post-metal and sell lots of albums?

We didn’t chose what we are going to play, and create… We just wanted to play music that best fits our ideas. And it is black metal.

Selling a lot of albums is not my purpose. If it would be, then yeah, I would play post metal, haha.

How many releases do you have so far? Can you tell us what is different about Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti?

From our inception through the present day we have made a solid discography, including a demo, split, EP, compilation, an album and several singles.

The different thing about Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti is that it is simple; it’s our zenith. We have advanced ideologically and also musically.

Is this latest album a concept album? If so, what’s it about?

Yes, it is a conceptual album… The strangest thing is that I don’t like conceptual stories… But it turned like that from itself.

The main pillar of the album is death and its philosophies, the second is misanthropy and its spiritual effect, and the last one is more like a question about nothingness.

Where can people in the US and the rest of Europe hear this album? Are there places in EU and US where they can buy Zloslut albums?

Since people today are more and more ignoring phisical releases, I decided to upload the whole album on YouTube, and several tracks on bandcamp and myspace. All of our releases are of course available physically, and can be purchased on our official website.

There are several labels and distros that hold some of our releases, but it’s been a while since i was in contact with them. Currently I am working with distros all over the globe, and in the months to come you can expect to see Zloslut releases in the lists. Until then you can order from me.

You sing in your native language. Why did you choose to do this?

I think that every band should sing on their native language.

But you know, it also depends on the ideology… Some texts are better fitting in English.

I personally didn’t choose that. I have some texts from my demo that are in English and also in French.

Some of my new tracks that will appear in the future are not all in Serbian.

How do you define black metal?

For me black metal is surely not to be close-minded as many of them today are, especially the new trend of Watain wannabe.

Personally, I am a very open minded person when it comes to music, books and so on…

We all know that religious people are close-minded, stopped from following their heart… Because of what? It’s not the question now.

We also all know that in the beginning of black metal, it was an opposition to all kind of religion, political direction etc…

So, to come to the point, black metal is not stopped from following the heart, black metal was always open minded, even when there is something that doesn’t fit its inner direction.

What is being open minded? Certainly not to like and support at once whatever you see, hear and feel… But its to consider what you don’t know or see the first time, analysed it, and then you know what is your personal definition on that subject.

I am not selling education about black metal, but only what I can say… Black metal has been dead for some time now… We might play it, but it’s only a massive tribute to that cult. Maybe one day it will be resurrected, but that I can’t tell you.

What is the process of songwriting in Zloslut? Do you start with an idea, or just play and see what happens? Or something in between?

I don’t have a special way of working. Sometimes I can take a guitar at a party, play it, and accidentally I come to an interesting riff, melody…
And when I make a song, I assemble them, piece by piece, just like puzzles… Until I come to something that may reflect to a song.

What’s next for you — will you tour, release more music, or change style?

2014 will surely be a year of concerts… We have been confirmed so far only in Serbia, but we are still persistent to cross the border and play some European dates. (Promoters get in touch!)

When it comes to releases, we have finished 95% of the second album. When this is going to be recorded/released, is still far away in my mind, maybe middle of 2015… We are also working on a split release where we will contribute with one completely new song. I can’t tell more for now, since we can never see our next obstacle.

What’s an oration of disorder? What most people think of as “order” consists in telling other people what they want to hear and then manipulating them. That’s how you sell them products. But the selling of products is the opposite of what art and listeners need, which is a harsh voice to tell us the truth.

Apostolum – Winds of Disillusion

Like Ras Algethi, this is a black-metal-influenced doom metal album that does not rely on detuned guitars to produce a low-end rumble. Instead, Apostolum shape their songs out of repetitive melodies like we might find in a horror movie soundtrack (shades of Damien Thorne) which cycle through repetition with frequent breaks for rhythmic or dynamic changes. The result is like a comforting background noise segmented into long enough pieces to tell a story, on top of riffs which themselves hint at a type of mood. Vocals add layers of lush intonation that flesh out the relatively sparse pieces, but one of the most important instruments here is silence. Riffs are slower but not uniform pace, so often pauses create gravity; pauses between riffs, and the interruptions in sound, create a sense of melody arising within darkness. The only real problem here is that much of what makes metal enjoyable is less present in this music. Its attempt at emotional depth leads it toward melodies that are periodically happy, so that they may be shattered, and the slowness is for lack of a better term not very exciting. I can appreciate this but I don’t think I’d listen to it.

Human Infection – Curvatures in Time

When we say something is “stale” in music, we generally do not mean that it is old. We mean that it is derived from something obvious, like a first step in examining something. The thought process ended early, we think, because we can easily visualize first-level thought from our armchairs in a casual moment. What interests us is when someone takes something in a distinctive direction, which does not mean weird or unexpected so much as it means a direction expressive of something. At some point, riffs either sound like an event from life itself, an emotional event or resemble an idea, and if the riff does not show similarity to one of those but seems to be introductory thought on its own, we discern that it is purposeless. Human Infection have made a grand effort at the technicality required for a death metal release, although the abysmally hollow and loud drum sound may doom this production, but too much of this is death metal for death metal’s sake without real purpose, and too much of it uses first level thought, a/k/a really obvious and played-out (because they’re obvious, they’re frequently used) riff patterns. I appreciate the big doofus aesthetic of this brand of death metal/deathgrind hybrid, but here it goes too far without going anywhere. As with most situations like this, there is too much reliance on the vocals and drums leading the guitars, which creates a sound like repetitive noise with background texture. Give that guitarist more prominence in songwriting and make the riffs lead the song and this could be a powerful band.

Amputated – Dissect, Molest, Ingest

What I like about this band is that they preserve the lineage of percussive death metal leading back to early Suffocation. It’s not that they clone riffs; it’s that they understand song conventions used by the originals and thus have to rely less on the post-Suffocation notions of breakdown to transition within the song. Other late model NYDM conventions make it in however including lots of pinch harmonics and sag-groove riffs. Luckily Amputated know how to put together a song so that it moves naturally and avoids lapsing into unrelated and thus pointless detours. At the same time, reliance on a style like this makes it very hard to distinguish songs since they are all similar in technique, rhythm and approach. This is going to be the challenge for Amputated, to distinguish “Skullfuck Lobotomy” from “Toolbox Abortionist” without relying on cheesy appearance tweaks. This band are tight, focused and have a good instinct for rhythm and song so this should not be a huge challenge for them.

Esoterica – Aseity

This is the droning wailing type of post-metal. It uses two-note black metal minor key riffs and drones those in a predictable loop while someone rants with an open-throated, slow vocal. It’s like a requiem performed by brain damage victims. The sense of purpose of classic black metal is lost; you could say Ildjarn took the same approach, and it wasn’t that Ildjarn was first, it’s that Ildjarn was good. Good means organized, purposeful, communicates something, and creates an experience the listener can partake in. Esoterica creates drone. If you want a background tone to go with some activity like ironing or fermenting fish guts this might be a good counterpart, but generally as it is without surprises or discernible idea, it fades into the city noises like planes overhead, trains long-hauling, trucks idling, domestic violence and identity theft.

Immoral Hazard – Convulsion

Pantera vocals over Kreator-styled speed metal with worked in touches from American melodic heavy metal bands of the same era. If you can imagine Kreator with metalcore/bro-core vocals except that the chorus riffs were borrowed from a hybrid of Forbidden/Fates Warning, that would be a good approximation of the style here. The vocals are unfortunately impossible to overlook and I wouldn’t want to listen to this in public because listening to bro-core is the equivalent of screaming “Hello, I’m a fucking moron” at the world. These guys know their classic metal and it shows with allusions that are artfully done enough to not be appropriations but subtle tributes. Phil Anselmo, although a great guy to drink with, invented the worst form of metal vocals possible because they channel aggression to the surface and replace depth with an kind of outraged customer slash drunk frat boy outlook. The rage is all one-dimensional however. The riffs have to support these bouncy rap/rock/hXc bro-core vocals and so get dumbed down. If they could hook this vocalist up with some old Rigor Mortis tapes, this band could head to better places and be really good at it.

Dux – Vintras

Working both within the confines of Gallic metal and a mixed bag of influences from the past, Dux create what a metal writer might dub “national tragedy”: music with a strong national sound that nonetheless embraces melancholy on the far edge of despair, and in the almost depression-distracted gaps created fills in space with past influences, exemplifying the chaotic modern approach that is the source of their angst. Very much in the same style of dissonant minor key Solutrean droning, with a sound that resembles the wind flowing past ancient caves if it were given tone, Dux create in the space etched by Celestia and Vlad Tepes. These songs sound like they might come from the distant past and yet, they are new, and exhibit the same exuberant take on the ancient ways offered by bands like Enslaved, albeit with less technicality. When there are gaps, the band fills in with equal parts Slayer-inspired proto-death metal and bits of choppy heavy metal and death metal, but these parts are infrequent and are counterbalanced by more of the delicious flowing melody they do so well. With better study habits, this band could rank in the higher echelons of contemporary black metal, beating out all the people who lack what this band has: a grasp on the emotional and intellectual subject matter, and thus content, of the black metal genre.

Snake Eyes – Welcome to the Snake Pit

Covering the territory once ruled by the first couple Motley Crue albums, Snake Eyes create old fashioned heavy metal with an American tinge of sleaze and darkness. It’s heavy on catchy chorus activity and yet picks up the pace on the riffing more than a Sunset Strip band would have. These songs also try for the “epic” sound of European metal, where at some point the elemental pieces of the song clash and resolve in something with a greater affinity for the sense of the song than the original bits. There’s some bleedover speed metal technique at points, mostly use of muted strum and budget riffs for tempo changes. Clear and strong but higher-pitched vocals guide each song, and are often in that half-sung half-chanted style that rides a good rhythm riff. This style of metal has a lot of rock in it, so will not be for everyone. With bonus cover medley from Judas Priest (“Riding the Sentinel into Hell”).

Sammal – No 2

Finland is boiling over with classic rock acts. They are all reallymusically competent and have a great sense of melody and rhythm. They have more trouble knowing how to pull a song together to make it highly distinctive, but that’s not from lack of ability, more a lack of internal drama. Dysfunctional people make the best rock ‘n’ roll for a reason, which is that they are not hampered by logic and that they have internal gestures of vast theatrical exuberance that make for really distinctive, evocative songs. Sammal do not have that kind of drama going inside of them. What they do have is a reverence for the 1960s-1970s rock and a way of writing good solid tunes that make you feel like you did not waste your time listening and want to think about them for a little bit. I am not sure what the lyrics are, as I think they’re in the voodoo-moonman language that is Finnish, but the songs themselves are quite powerful. Now why aren’t these guys making death metal?

Culted – Oblique to All Paths

No one wants to say all post-metal sounds the same but it is true. This is because post-metal limits itself both to non-phrasal riffing and a certain narrow range of power-chord based ambiguous minor key riffs and arpeggios, and simultaneously imposes on itself the demand the sometimes there be distortion and hoarse vocals. One might ask these bands why they bother with post-metal when obviously they want to play mainstream rock, but no matter what answer they verbalize, the truth is that it is easier to be a big fish in the small pond of a recent trend than to compete on the much broader highway of rock itself. And yet that is a form of cowardice. Why not tackle the audience that they naturally belong to? This band would be a lot more fun if they went Dave Matthews or Barenaked Ladies on stopped trying to cram some superficial aspects of “metal” into an unrelated genre. There is more actual metal on a Taylor Swift album than is present here even though Culted clone riffs from doom, black and death metal past. But seriously, why is this band wasting its time? Better to just become the rock band they want to be than to force themselves to be trendy and not make the cut.

Zloslut – Zloslutni Horizont – Donosilac Prokletstva, Ocaja I Smrti

Part of black metal was its national tradition. Bands wanted to sound like they were from their homelands. This was harder to relate to in places that are more regional, like UK or USA (the “acronym nations”). Zloslut never quit with this idea. They sound like they are not only a band with their own voice, but they bring out some characteristics of national sound. This is not hyper-distinctive as Zloslut compose very much in the classic black metal vein, sounding much like a cross between early Gorgoroth and Immortal. Songs are melodic but not as an effect; they are based around underlying melodies with a distinctive old world flair, internally punctuated by the type of upturn that introduced a huge amount of ambiguity when metal bands first did it. Now it is worked into the melodic sense itself, like the melody is a series of questions exploding into a defiant statement, usually delivered in full toward the end of a song when it can expand into a promenade or march-style rhythm. These songs are designed to fit together like wooden puzzles, meaning that there must be some gap at all times, but the shapes can never be incompatible. The result develops underneath the ears and has subtlety like the original black metal bands. While 80-90% of it may be familiar with those who studied the early 1990s Northern black metal explosion, as with all things in life the distinction is in the details, and there’s a lot to listen to here that shows this band have their own voice and one for their homeland.